I'm guessing this is a paraphrase of the Phaedrus dialogues in the book about the difference between apollonian and dionysian approaches to art and how relying on the purely sensual cannot be spiritual as it leads to passion and a dangerous precipice?
To the extent of my understanding, this is a debate over the meaning of art, and whether it is appropriate to idealism, or realism. Well, if art is something that differs from life in that it is unconstrained, then it is certainly ambiguous and subjective. Thus, I am confused by Aschenbach's latter propositions, because they seem contradicted after he says that reality distracts and degrades.
@@narek323 Aschenbach's proposition on art, beauty, and purity seem to draw parallels with his fascination/attraction to Tadzio. The existence of Tadzio, to Aschenbach, is an example of perfect beauty. He sees no ambiguity in Tadzio's beauty, just pure perfection. That's how I see it anyway.
I think reality and Art are a very toxic couple. Too close is danger. Too distant is danger Too. Every one send you to destruction if you don't limite them. Both are needled in the life, but you can't love them with out being destroyed. Aschenbach looks like a great gentleman in this scene, with the cup of tea, but at the same time, he is so appasionated with his ideas
I think they're both wrong. Is the conversation meant to be pretentious and deluded? The way they go from evil as the food of genius to having tea (help yourself to milk) and then off again on art as ambiguity is quite funny.
I think its a paraphrase of a platonic dialogue in the book which argues about whether sensuality can lead to perfect art when it is based on passion and passion leads to a dangerous precipice. Britten's opera explores it in more detail. A conflict between the apollonian and the dionysian.
![แข่งเพิ่มน้ำหนักใน 24 ชั่วโมง!! [Ver 2025]](http://i.ytimg.com/vi/20xn0g6k-ec/mqdefault.jpg)
Aschenbach is so upperclassy here offering him the tea. It seems like Alfred just wants to rip him apart.
Had to pour his own milk though
Bogarde is such a fascinating man.
❤❤❤❤❤❤❤
💙💙💙💙💙💙
So true❤
💛💛💛💛💛💛💛
😍🥰😍
Dirk Bogarde ❤❤❤
Handsome daddy.
I'm guessing this is a paraphrase of the Phaedrus dialogues in the book about the difference between apollonian and dionysian approaches to art and how relying on the purely sensual cannot be spiritual as it leads to passion and a dangerous precipice?
To the extent of my understanding, this is a debate over the meaning of art, and whether it is appropriate to idealism, or realism. Well, if art is something that differs from life in that it is unconstrained, then it is certainly ambiguous and subjective. Thus, I am confused by Aschenbach's latter propositions, because they seem contradicted after he says that reality distracts and degrades.
Is the purpose of art to seek meaning in life? Then why try to find the meaning of art itself? That leads to further confusion.
@@narek323 Aschenbach's proposition on art, beauty, and purity seem to draw parallels with his fascination/attraction to Tadzio. The existence of Tadzio, to Aschenbach, is an example of perfect beauty. He sees no ambiguity in Tadzio's beauty, just pure perfection. That's how I see it anyway.
@@ParchedPinemarten
Yeah the novella is deeper than most people give it credit for.
I think reality and Art are a very toxic couple. Too close is danger. Too distant is danger Too. Every one send you to destruction if you don't limite them. Both are needled in the life, but you can't love them with out being destroyed. Aschenbach looks like a great gentleman in this scene, with the cup of tea, but at the same time, he is so appasionated with his ideas
I´m an old friend of reality.
I think they're both wrong. Is the conversation meant to be pretentious and deluded? The way they go from evil as the food of genius to having tea (help yourself to milk) and then off again on art as ambiguity is quite funny.
You got it
I think its a paraphrase of a platonic dialogue in the book which argues about whether sensuality can lead to perfect art when it is based on passion and passion leads to a dangerous precipice. Britten's opera explores it in more detail. A conflict between the apollonian and the dionysian.